"New England's The Channels, which features ex-members and collaborators of Guerilla Toss. Their sound comes from an impeccable understanding of the early years of noise and punk experiments, indebted to the no-wave and post no-wave groups of New York City from the 80's, and is melded with the groups expertise in song structure and sound manipulation. A catchy, post-industrial record to groom one into the ever-present nihilism of out current time. Surprisingly accessible."

Citing the likes of Debussy, Captain Beefheart, and Nina Simone as her main influences, it's clear from the outset that Anna Calvi isn't your average, run-of-the-mill singer/songwriter. She may have been tipped for success by everyone from the broadsheet music press to Brian Eno, but her blend of sultry blues-rock and dark, mysterious flamenco is a million miles away from the chart-friendly output of her fellow Sound of 2011 nominees. Her self-titled debut, therefore, is unlikely to reap the same commercial rewards as the likes of Jessie J and Clare Maguire, its uncompromising, gothic, David Lynch-esque nature certainly won't spawn any bite-size TV ad soundtracks or airplay favorites your mom can sing along to. But in a music scene dominated by female solo artists, Calvi's romantic but often sinister ten songs certainly helps her to stand out from the crowd. Opening track "Rider to the Sea," sets the scene immediately, a brooding instrumental whose atmospheric twanging guitars would provide the perfect score should Quentin Tarantino's much rumored Kill Bill 3 ever come to fruition. Calvi's haunting and intense vocals first come to the forefront on "No More Words," a gloriously menacing number which evokes the shimmering distorted harmonies of My Bloody Valentine. But it's on the grandiose "Desire" when Calvi really unleashes the impassioned post-punk tones that have drawn favorable comparisons with the likes of Patti Smith and PJ Harvey.

Crash Course For The Ravers: A Tribute To The Songs Of David Bowie is an alternative music compilation CD released in 1996. At a time when tribute albums were all the rage, this one features different bands covering their favorite David Bowie songs, a mixture of groups who were on majors as well as indies. It includes new interpretations of Bowie songs by Treepeople, Mercury Rev, The Dambuilders, Fernando, Swell, King Black Acid, Hazel, and many more. This was released by Undercover Records.

Limited edition 2008 13 disc (12 CDs + PAL/Region 0 DVD) box set featuring all the albums from the Swedish Metal band released on the Century Media label in one noble solid box with gold foil print plus a DVD: The Church Of Tiamat.. Contains a total of 131 audio tracks, which translates to over 10 hours of head banging playing time! Includes a 64-page booklet with all lyrics.

A career boxset coming in the form of a 5CD/2DVD is released to coincide with the career-spanning documentary film about Public Image Ltd titled The Public Image Is Rotten. This box set ‘The Public Image Is Rotten (Songs From The Heart)’ features the PiL Singles Collection, B-sides, Rarities and Radio Sessions, 12” Mixes, Unreleased Mixes and Tracks + a Live concert from New York Ritz in July 1989. The DVD includes PiL promo videos + some live footage from the BBC’s Top Of The Pops and Old Grey Whistle Test. Just in case that wasn’t enough, we’ve also included two live concerts, the first Tallinn Rock Summer Festival in Estonia 1988 and the 2013’s Enmore Theatre in Australia.

Over the course of eight years and three albums, Iceland’s Kontinuum have found themselves practising a sort of dark rock minimalism, streamlining their music and sloughing off the elements they deem surplus to requirements…

There’s an inherent flaw in the perennially alternating “rock is back” and “rock is dead” arguments: they are based on the idea that rock music is a logic-based choice a person consciously chooses to make. Contrary to the critics who are looking to suss out cultural trends and movements, the decision to play loud, distorted, unabashed guitar-rock isn’t a strategic move but a higher calling (or curse, depending on one’s point of view). Some might say the pursuit of rocking out via deafening amplifiers, crusty drums and a beer-battered PA is a spiritual one, an affliction that either strikes or doesn’t. Few groups today embody this sentiment like Melbourne’s aptly-named Deaf Wish.

But now for the album, which is available here in the Welcome To Hell version. It starts rather quiet and behaving and opens the topic, the plague in Hamburg, excellently. The Heart Of The Raven is a soulful piece, which should work even more in the classic version. Martins voice fits but also like a close eye on this track. Very nice melody, which should also provide live concerts for lighter attacks. Carl Fornia shines with a fine solo. Then the title track Welcome To Hell. Everything is provided here that makes a Hammer Mono Inc. song. Driving rhythm of Katha and Manuel, above the striking voice of Martin Engler. The song was already released as a single and shows that this album can grow up. Long Live Death, also released as a single, captures one immediately. Katha's voice in the background fits the song and should make for ecstatic live. If you know the background of the concept album and get involved in the story, you can understand what is meant to be expressed. Death is merciless, especially in the time of the plague, and does not stop anyone, even if it is packed here in a beautiful melody.

No other voice and artist influenced and basically created the female fronted symphonic metal genre as much as Tarja. A pioneer in goth and symphonic metal, the classically trained Finn rose to fame with the band Nightwish. Filmed during Tarja's world tour "The Shadow Shows"

Non-Stop Erotic Cabaret is the debut album by English synthpop duo Soft Cell, released in the United Kingdom on 27 November 1981 by Some Bizzare Records. The album's critical and commercial success was bolstered by the worldwide success of its single "Tainted Love", a cover version of a soul song by Gloria Jones, which topped charts worldwide and became the best-selling British single of 1981 in the United States. American magazine Out placed the album at number sixty-six on their list of The 100 Greatest, Gayest Albums (of All Time). It was also included in Robert Dimery's book 1001 Albums You Must Hear Before You Die. Remastered 1996 reissue with eight bonus tracks: 'Where Did Our Love Go?', 'Memorabilia', 'Facility Girls', 'Torch', 'Insecure Me', 'What?', 'Fun City' and '….So'. 18 tracks total from Marc Almond & Dave Ball, also featuring their top 10 cover of 'Tainted Love' and the hits 'Sex Dwarf' & 'Say Hello, Wave Goodbye'.

Therion's "Live Gothic" is a full length CD/DVD release recorded in February 2007 in Warsaw Poland. It proves that while Therion continues to change over time they are still one of the top prog-metal acts and capable of delivering this rip-roaring good time…

With the release of Skeleton Skeletron, Tiamat have effectively crossed over. Whereas early efforts such as Clouds and Wildhoney found the Swedish deathsters taking heavy metal in new and exciting directions by integrating elements of electronica and goth rock, their sixth album begs the question: have they gone too far? With its female backing vocals, lead-off single "Brighter than the Sun" sounds too much like Sisters of Mercy for its own good, while "Dust is our Fare" features a synthesizer intro borrowed straight from Bronski Beat's "Small Town Boy." Sure, both songs are excellent and display a biting guitar tone which not even heavier goth-rock bands like the Sisters or Fields of the Nephilim ever attempted, but the results may still be too extreme even for long-time Tiamat fans…

A Deeper Kind of Slumber moves Tiamat even farther away from traditional heavy metal, with synthesizers dominating the arrangements and Johan Edlund doing completely away with metal growling in favor of an unearthly croon. Although it's not very metallic, the music is quite heavy in its own way, creating a numb, sleepy ambience that feels both introverted and resignedly pessimistic; perhaps this is due to Edlund's conceiving the album at home with little outside input, and his relationship difficulties at the time…